A varied assortment of artworks on the second floor, each creatively displayed within the enigmatic settings envisioned by Yutaka Inagawa.
Photo by Kensuke Hashimoto | Courtesy of Art Gallery Miyauchi
上階｜インスタレーション・ビュー
上階では、異なる場所、気候、文化的背景に根ざす多様な植生やランド／シティスケープが、それぞれの差異を保ちながら変容・共存し、互いに関係し合うハイブリッド・ガーデンのような地表をフロア全体のイメージとして構想した。窓から差し込む自然光も環境を構成する要素として積極的に取り込みながら、それぞれの作品や空間の条件に応じて、作品が存在するための異なるテイラーメイドの環境を構築した。
その方法は作品ごとに異なり、異なるアーティストの作品を干渉的に並置する、作品の既存の構成を再解釈して別の構造へと展開する、インストラクションをもとに会場で作品を生成する、あるいは稲川自身による絵画的なミューラル、円形パネル、木材による構造体などの創作ユニットを介在させるなど、多岐にわたる。さらに、ギャラリーにもともと存在する家具や什器、壁面、床、窓、光、空間固有の建築的・構造的特徴も巻き込みながら、それぞれの作品と周囲との関係から固有の環境を立ち上げた。
例えば、Anthony Chinの作品では、庭師とともに日本庭園と禅庭の要素を混在させた庭を会場内に構築し、稲川によるスプレーペイントの壁面や円形の要素、内田涼やThe Portland Inn Projectの作品などがその周囲で関係する複合的な環境へと展開した。また、Kong Chun Heiの作品では、本来直線状に構成されていた複数の水位計の彫刻を十字状に再構成し、そこへDaniel Silva自身が会場で作品を介入させることで、新たな関係が生み出された。Guanyu Xuの写真作品では、稲川の自宅で実際に使用している複数の壁紙を重ねた壁面と、脚を部分的に切断したギャラリー所蔵の椅子などを組み合わせ、擬似的な居住空間を思わせる固有の環境を構築した。
こうして生まれたそれぞれの環境も、独立した場として完結するのではなく、互いに重なり合い、隣り合い、ときに干渉しながら複数の方向へ関係を開いている。異なる作品、創作ユニット、展示環境、建築的要素、自然光、そして人の動きまでが視界のなかで連続的に交差することで、異質なものがそれぞれの差異を保ちながら共存する、多焦点的で多方向に開かれた一つの風景をフロア全体に形成した。
写真：橋本健佑｜提供：アートギャラリーミヤウチ
Featuring Ryo Uchida (‘carnite landowner', 2021) in the middle of the photo
Featuring Kara Chin (‘Awakening Ceremony', 2021) in the middle of the photo
Featuring Wang Ruobing (‘Three Planks', 2021) in the middle of the photo
Featuring Guanyu Xu (‘RK-08282018-01142022', 2022)
Featuring Daniel Silva (‘WE', 2024)
Kong Chun Hei's ('Flooding', 2019), originally presented with several enlarged water gauge sculptures forming a straight line, has been boldly reinterpreted by artist-curator Yutaka Inagawa into a cross-shaped arrangement for this curatorial framework and show.
Artist Daniel Silva visited the gallery space during the setup to engage directly with the curatorial framework, as his work often involves site-specific installations. "Wax Over Flesh" and "3 Fish" particularly embody this quality. "Wax Over Flesh" demonstrates mutable sculptural qualities, allowing for fragmentation and an open structure, which creates an interwoven, intimate relationship with the show’s structure. Silver's interventions aimed to add more layers to the complex structure of the show and its exploration of interconnectedness. His practice, which also emphasizes interconnectedness, found a resonant echo with the show's concept.
Daniel Silva’s "Wax Over Flesh” (2024) engages in a creative dialogue with the manipulated formation of Kong Chun Hei’s "Flooding" (2019).
Daniel Silva’s "3 Fish" (2024) engages lyrically with the reimagined arrangement of Kong Chun Hei’s "Flooding" (2019)
Featuring Sai (‘Adapt Adapter III’, 2020)
Featuring Ryo Uchida (‘circle’, 2024)
Featuring Anthony Chin ('The Incomplete Momotaro: Sacred Sailor (IV)', 2024), Ryo Uchida ('Sun #4', 2023), and Guanyu Xu ('LP-08292016-04112021', 2021) within bespoke environments created by Yutaka Inagawa, including various creative units and painting-like backgrounds by Yutaka Inagawa.
Featuring The Portland Inn Project (‘Portland Palissy Ware’, 2023)
The pink circles and their intervention reflect Yutaka Inagawa’s creative engagement within the curatorial framework.
Anthony Chin's The Incomplete Momotaro: Sacred Sailor (IV) (2024) is a site-specific response to a unique invitation. Under the supervision of Yutaka Inagawa, local gardener Masataka Namba of Suizyuen constructed a hybrid garden that combines elements of a Japanese Garden and Zen Garden, emphasizing a black-and-white aesthetic with black-inked water. The garden is surrounded by a series of pink circles, with a piece from the Portland Palissy Ware by the Portland Street Project placed on one of these circles. The backdrop of the garden features a wall space covered by a spray-painted background, resembling a sort of semi-abstract landscape painting with pseudo-Japanese elements. Ryo Uchida's painting, Sun #4 (2023), is hung over part of this spray-painted background.
Artist Anthony Chin added another layer by adjusting the shape of the garden's outer edge and aligned the formation of the pink circles.
Detail of Anthony Chin’s "The Incomplete Momotaro: Sacred Sailor (IV)" (2024)
Ryo Uchida ’s ’on the lotus’ (2022) is juxtaposed with Daniel Silva’s ‘Insects in Translation’ (2024), Sai’s ‘Tok......Tok……’(2021) and Bouie Choi’s ‘The portal’ (2022)
Detail of Anthony Chin’s "The Incomplete Momotaro: Sacred Sailor (IV)" (2024)
Bouie Choi’s "That Night the Bus Stalled" (2022), "My Sedimentary Rock" (2022), and "The Portal" (2022) are juxtaposed with Sai’s "Tok......Tok……" (2021), "当我们同在一起 (Together) No. 1" (2023), and "Erlang Shen_01" (2021)
Bouie Choi ’s ’That moment, we are homed’ (2023) is juxtaposed with Sai’s ‘Untitled Walk II’ (2021)
Bouie Choi’s "That night the bus stalled" (2022) (right), "My Sedimentary Rock" (2022) (left), and Sai’s "The Portal" (2022) (centre).
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) – an instruction-based artwork created in response to the curatorial framework.
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) and The Portland Inn Project (‘The Portland Pigeon’ 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) and The Portland Inn Project (‘Posters for Portland Street’ 2024)
Gallery staff created soft objects using socks, gloves, and discarded plastic bottles and caps from a local hospital group, following the artist’s instructions.
Detail of Tang Kwok Hin (‘Twisting Caps’, 2024)
Featuring Tang Kwok Hin (‘Twisting Caps’, 2024) – an instruction paper showing various ideas to interact with materials and shapes.
Featuring Guanyu Xu (‘LP-08292016-04112021', 2021) and Ryo Uchida (‘court’ 2024) in conjunction with Yutaka Inagawa’s creative units.
The background of Guanyu Xu’s (‘LP-08292016-04112021', 2021) features four different rolls of wallpaper overlapping each other, creating a quasi-domestic feeling. The wallpaper is the same as that used in artist-curator Yutaka Inagawa’s house in Onomichi. The foreground includes a series of chairs belonging to Art Gallery Miyauchi, with part of the legs cut off and tilted at an angle, also stenciled with their own dimensions. This bespoke intervention was crafted by Yutaka Inagawa.
Featuring Ryo Uchida (‘court’ 2024) and Guanyu Xu (‘LP-08292016-04112021', 2021) in conjunction with Yutaka Inagawa’s creative units.